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Mozart - Piano concerto nº23 - Andante

Tchaikovsky Piano Concerto 1 Op.23 2 tempo

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Tchaikovsky Piano Concerto nº1 Op.23. 1er tiempo

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Khatia Buniatishvili Grieg Piano Concerto in A minor

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Aram Khachaturian Piano Concerto, D Flat Major, Op. 38

Piano Concerto, Aram Kachaturian
1. Allegro ma non troppo e maestoso
2. Andante con anima
3. Allegro brillante

December 2014, Buenos Aires, Argentina
Piano: Melisa Sanfelippo
Piano 2, Orquesta: José Azar

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Piano Concerto N° 2 in C Minor, Op. 18 - II. Adagio sostenuto

#músicaclásica #Classical

Música: https://musopen.org/

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TCHAIKOWSKY CONCERTO Nº2 Op.44 DENIS MATSUEV piano & Orchestra LIVE IN MOSCOW

Denis Leonidovich Matsuev (Russian: Дени́с Леони́дович Мацу́ев, born June 11, 1975) is a Russian classical pianist.
Born in Irkutsk, Russian Federation, Matsuev is the only child of two musicians, as his mother is a piano teacher and his father is a pianist and composer. He demonstrated a musical ear at age 3, when he reproduced on the piano at home a melody that he heard on television His father subsequently became his first piano teacher. Until age 15, Matsuev studied music in Irkutsk. In 1990, he won a prize at the New Names Charitable Foundation competition in Irkutsk and received a stipend, $1,000 a month, from the foundation to study music in Moscow. With other young gifted musicians from Russia discovered by the foundation, Matsuev went on tour in Europe and the United States.
In 1991, Matsuev moved with his parents to Moscow to continue his musical education. He studied at the Central Musical School at the Moscow Conservatory. In 1994, he took part at his first international piano competition in Johannesburg, South Africa where he was awarded the Grand Prix. In the same year he entered the Moscow Conservatory as a student of Aleksey Nasedkin. After 1997, he studied under Sergei Dorensky. Matsuev won the 11th International Tchaikovsky Competition in 1998 at age 23. (Wikipedia)

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Ravel Piano Concerto In G Major Argerich Dutoit Orchestre National De France Frankfurt 9 9 1990

The concerto was deeply infused with jazz idioms and harmonies, which, at the time, were highly popular in Paris as well as the United States, where Ravel was traveling on a piano tour. After his well-received tour, Ravel wanted to give the first public performance this new work himself. However, health issues precluded this possibility, with his preparatory practice of Liszt's and Chopin's etudes leading to fatigue. He then planned a premiere for March 9, 1931, in Amsterdam, but these plans also were canceled due to work on the Concerto for the Left Hand, his many public appearances, and his performances of his other works.
Eventually, Ravel offered the premiere and dedicated the concerto to Marguerite Long, who was known for her performances of the works of Fauré and Debussy and had earlier asked Ravel for a new work. She received the score on November 11, 1931, and played the concerto on January 14, 1932, with Ravel conducting the Orchestre Lamoureux. A few days after this highly successful premiere, Ravel and Long started a tour of twenty cities in Europe, where it was received with consistent enthusiasm.
The first North American performances were given simultaneously on April 22, 1932, by both the Boston Symphony Orchestra and the Philadelphia Orchestra at their home concert halls. (Wikipedia)

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Concierto No. 1 para Piano → LP De Viena a Moscú (Franck Pourcel y Su Orquesta)

Franck Pourcel interpreta su versión del "Concierto para piano n.º 1" en si bemol menor, opus 23. Fue escrito por el compositor ruso Piotr Ilich Chaikovski (1840-1893) entre noviembre de 1874 y febrero de 1875, con una primera revisión en 1879 y una segunda revisión en diciembre de 1888. El famoso pianista ruso Nikolai Rubinstein criticó con acritud la primera versión. Posteriormente Rubinstein cambió de opinión en la segunda revisión y se convirtió en un ferviente admirador de esta obra.

El director de orquesta francés Franck Pourcel nació el 11 de agosto de 1913 y falleció el 12 de noviembre de 2000.

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Charlie demuestra su talento y su bondad

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Charlie deja a todo el mundo con la boca abierta en el teatro y no sólo por su música, sino también por su bondad.

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Mozart, Beethoven, Chopin y Verdi forman una inseparable panda de chicos de hoy que comparten su pasión por la música. Y la hacen accesible usando una sinfonía de humor y aventuras… ¡En estéreo!

© BRB INTERNACIONAL, S.A. - MARATHON PRODUCTIONS - TVE

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¡La banda de Mozart tiene su primera audición!

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Es la primera audición de la banda y los nervios están a flor de piel pero, ¿conseguirán gustar al jurado?

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Mozart, Beethoven, Chopin y Verdi forman una inseparable panda de chicos de hoy que comparten su pasión por la música. Y la hacen accesible usando una sinfonía de humor y aventuras… ¡En estéreo!

© BRB INTERNACIONAL, S.A. - MARATHON PRODUCTIONS - TVE

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Radio Tempo Di Concerto - Un programa NO clásico (12 Diciembre 2011)

Dailymotion eliminó este vídeo debido a que se presentó un reclamo por derecho de autor. Sin embargo no indicaron cual fue el motivo del reclamo. Este mismo vídeo lo tengo publicado en YouTube y Vimeo y no han habido ningún reclamo.

Para ver este vídeo pueden optar cualquiera de las siguientes direcciones:

http://vimeo.com/35444220
http://www.youtube.com/watch?v=WF9_HrjVkiM

Entiéndase que no estoy buscando refutar ni violar las normas de Dailymotion, pero creo que tengo el derecho de saber cual ha sido el motivo (imagen, audio, texto) para la acción que fue tomada.

Disculpen las molestias

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Música Instrumental Para Descansar

Música instrumental para descansar ✔

Piano instrumental


Drops_of_Earth

One_Step_Closer

Invisible_Beauty

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DENIS MATSUEV & BPhO VALERY GERGIEV dir. RACHMANINOFF CONCERTO Nº3 Op.30 LIVE + encore

This is the most difficult piano concerto..!

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piano sonoro animales

Precioso piano de tela, blandito. Aprietalo y escucha el sonido de un gatito, un pajarito...
Comprar en: http://infanity.es/tienda/juguetes-tela/piano-sonoro-animalitos/

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Lang Lang - piano

Lang Lang

1.Mozart - Sonata no 10 in C Major for Piano
2.Chopin - Nocturnes,op 27 no 2 in D-Flat Maj
3.Chopin - Etude no 3 in E Major Op 10"Tristesse"
4.Beethoven - Sonata in D Major op 6 for Piano
5.Shumann - Kinderszenen op 15
6.Beethoven - Sonata in D Major for Piano
7.Rachmaninov - Rhapsody on a Theme of Paganini
8.Chopin - Concerto no 1 in E Minor for Piano
9.Bach - Orchestral Suite No 5 in D Major

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Moonlight Serenade (Glenn Miller)

Me acuerdo cuando escuché la versión de Deodato hace algunos lustros, e inmediatamente fui a comprar la partitura y "heme aquí", aclaro, ésta interpretación es parecida a la versión del compositor: El registro del piano es del Rhodes, y por cierto, la tocababamos como tema de nuestro grupo "los Chicos de la Banda" en nuestro "Chow" Uuuuuffffff!!!! ya llovió jijiji.

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SHOSTAKOVICH CHAMBER SYMPHONY (TRANSCRIPTION OF R.BARSHAI) RFrPhO HEINZ HOLLIGER dir. LIVE 1996

The first movement opens with the DSCH motif which was Shostakovich's musical signature. This slow, extremely sad theme can also be heard in his Cello Concerto No. 1, Symphony No. 10, Violin Concerto No. 1, Symphony No. 15, and Piano Sonata No. 2. The motif is used in every movement of this quartet, and is the basis of the faster theme of the third movement.
The final statement of the DSCH motif at the end of the fifth movement
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The work is filled with quotations of other pieces by Shostakovich: the first movement quotes his Symphony No. 1 and Symphony No. 5; the second movement uses a Jewish theme first used by Shostakovich in his Piano Trio No. 2; the third movement quotes the Cello Concerto No. 1; and the fourth movement quotes the 19th century revolutionary song "Tormented by Grievous Bondage" and the aria Seryozha, my love from Shostakovich's opera, Lady Macbeth of the Mtsensk District. The fifth contains a play upon a motive also from Lady Macbeth.
It has been transcribed by Rudolf Barshai for string orchestra, in which version it is known as Chamber Symphony in C minor (Op. 110a). (Wikipedia)

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Recuperam Allegro molto inédito composto por Mozart aos 11 anos.

Salzburgo (Alemanha), 25 mar (EFE).=. Mais de dois séculos após sua morte o legado de Wolfgang Amadeus Mozart segue crescendo. A novidade agora é um "Allegro molto" para piano composto pelo gênio aos 11 anos. A composição de 84 compassos e apenas três minutos foi descoberta no início de março por casualidade pela musicóloga Hildegard Herrmann-Schneider em Tirol.
O primeiro concerto para piano (IK175) da criança prodígio data de 1773, por isso que a peça achada demonstra "um alto nível técnico para alguém tão jovem", afirma Leisinger, o que não é uma surpresa para quem conhece a trajetória do gênio. Leisinger foi cautelosa ao dizer que não há certeza absoluta da autoria da música já que a peça não foi manuscrita por Mozart, o que teria ajudado a verificar a origem, mas todos os indícios apontam para uma autoria do criador de "A flauta mágica".

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TCHAIKOWSKY SUITE Nº3 Op.55 ORCHESTRE DE PARIS ANDREY BOREYKO dir.LIVE june 12 -, 2013

"I meant to write a symphony, but the title is of no importance", Tchaikovsky wrote Sergei Taneyev. When he had gone to the Davidov family estate at Kamenka in the Ukraine, he had contemplated ideas for a piano concerto and a symphony. Neither plan really materialized the way the composer intended. He quickly recognized his ideas for the symphony were better suited for an orchestral suite like the two he had previously written. The problem lay with the opening movement. Titled Contrastes, it was to be a fantasia of contrasting musical sounds and patterns, not unlike the Jeu de sons movement that opened the Second Orchestral Suite. The more he worked with the music, the more recalcitrant the music became and the more he hated it. Contrastes finally found its way into the Concert Fantasia.
Tchaikovsky's original layout for the Third Suite was similar to that of his Second—a fairly large opening movement as in his first two orchestral suites, then three smaller ones and a theme–and–variations finale. The developments that Contrastes underwent, while good for the Concert Fantasia, left the suite unbalanced, with three small-scale movements followed by a theme-and-variations movement as large as all three previous movements placed together. Even without Contrastes, the suite remains a long work.
Wiley writes that Tchaikovsky composed the scherzo first. The theme-and-variation finale came last, beginning with the concluding polonaise. This, he says, might have helped the composer clarify his strategy in pacing the movement and guiding its overall momentum. He also links the theme of the finale to the other movements: "its opening chord is presented as a triad with added sixth, [which he used for the scherzo immediately preceding it] and, like the [opening] Elegie, the movement is resolutely melodic..
Wiley also says the quality of Prelest' (meaning "charming" or "pleasing") in the Third Suite "is too prominent for a symphony, while at the same time the suite's coherence advances well beyond the casual miscellency of the Second." This continuity, he suggests, "casts doubt on the freedom he so cherished when writing the First Suite six years earlier." The Third Suite, Wiley adds, is also much darker music in tone than in the two suites that preceded it.
In the fourth variation (pochissimo meno animato, B minor) of the fourth movement, a quotation of the Dies Irae theme is distinctly heard. (Wikipedia)

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